79:, and interest in his printing was revived, not least with Morris himself, who bought a small press and began to print again, this time calling his press the "Officina Mauritiana" or "Officina Guidonis". He printed some ephemera and pamphlets between 1970 and 1974, but did not produce work on the scale, or of the quality, of his Latin Press days.
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Morris's printing was chiefly "jobbing" work, and he saw himself as a fine jobbing printer. He disliked printing books, although he printed several, for various clients over the years, which work he usually regarded with disdain. He did, however, attempt to launch an artistic/literary periodical
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Morris was a handsome man, with a charming manner, wit, intelligence and intellectual curiosity – qualities which helped him in his many, often short-lived, relationships with women, and in his business dealings (though his financial skills were somewhat limited, and he developed an unfortunate
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Morris was a passionate printer and typographical designer, but he was not a good businessman and had to move several times, suffering a series of difficulties and bankruptcy before being called up for active service in 1940. He suffered a breakdown during the War, and for a short while ran a
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which was a little more successful, including new work by a number of contemporary poets (as well as by Morris himself). The first
Crescendo pamphlet appeared in 1951 and the eighth, and last, in June 1952. Morris generally used
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type for his work at the Latin Press, though he did possess other typefaces and once remarked that he believed he had made a mistake in selecting Bembo as his "house" fount. When he re-established his press in 1970 he bought
31:, although it is sometimes described as such), run by Douglas "Guido" Morris (1910–1980). He became interested in printing in his twenties and first experimented with type and a home-made press in
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for the local artistic community, and had his most settled period, continuing to operate until 1953, when the Press was again declared bankrupt. Later he worked as an editor and as a guard on
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reputation for taking on work which he could not complete and for not paying bills). Specimens of his printing have been collected since the 1930s, and major collections can be found at the
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of which only three issues appeared in 1936 and 1937 before he was forced to abandon the project. While at Saint Ives, he also instituted a series of pamphlets called the
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Paul W. Nash. Unpublished archive of research (Nash is preparing a bibliography and history of the Latin Press).
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tea-shop with his first wife, Doreen. In 1946, after the break-up of his marriage, he moved to
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Guido Morris, fine printer: the last chapter? A catalogue of the late printings ...
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in 1934. In the following year Morris bought his first iron hand-presses (a small
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113:(although currently (2008) the main portfolio of ephemera is missing), the
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Information gathered by P.W. Nash, 2001-2009, from those who knew Morris.
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21:
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Guido Morris and the Latin Press in St Ives, 1946–1953: an introduction
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228:
Letter to E. Gordon Craig, 1944 (Bibliothèque
Nationale de France).
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Guido Morris: telling the town: the Latin Press, St Ives, 1946–1953
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75:. In 1969 an article about his life and work appeared in
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Letter to Will Ransom, 1937 (Newberry
Library, Chicago).
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and re-established the Latin Press. Here he printed
43:) and established the Latin Press at Langford, near
190:. London: British Library. pp. 122, 131 etc.
188:Fine Printing and Private Presses: Selected Papers
136:Anthony B. Baker, et al. "The quest for Guido" in
210:Letter to D. Chambers, 1969 (private collection).
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294:Book publishing companies of the United Kingdom
47:, undertaking some of his earliest work for
186:Cave, British Library. By Roderick (2001).
159:Guido Morris, a fine printer: an evaluation
140:2nd series, 2:4, Winter 1969, pp. –187.
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27:business (not, strictly speaking, a
255:Morris, G. "My work as a printer",
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299:Small press publishing companies
119:Bibliothèque Nationale de France
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171:. St Ives: Book Gallery, 1995.
161:. St Ives: Tate Gallery, 1995.
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304:Companies based in Cornwall
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325:
154:. St Ives: Bridge, 2003.
147:. St Ives: Bridge, 2005.
89:Crescendo Poetry Series
67:, catalogues and other
125:, Saint Ives in 1995.
259:, 3, 1949, pp. 61-66.
117:at Chicago, and the
219:Baker 1969, p. 144.
138:The Private Library
77:The Private Library
257:The Cornish review
73:London Underground
309:St Ives, Cornwall
167:David Wilkinson.
157:Alan Livingston.
85:Loquela Mirabilis
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143:Michael Bridge.
115:Newberry Library
107:Bodleian Library
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111:British Library
101:types instead.
41:Columbian press
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39:and a larger
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123:Tate Gallery
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37:Albion press
20:was a small
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237:Baker 1969.
49:Bristol Zoo
22:letterpress
18:Latin Press
288:Categories
129:References
99:Van Dijck
69:ephemera
61:Cornwall
25:printing
83:called
65:posters
57:St Ives
45:Bristol
194:
109:, the
33:Oxford
94:Bembo
192:ISBN
16:The
59:in
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51:.
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